[This is considered to be a bust of the time, and perhaps by his own hand.]
197. Simon Vouet. Painter.
[Born in Paris, 1582. Died there, 1641. Aged 59.]
Is generally regarded as the founder of the French school of painting. He received his first instruction from his father, who was also an artist. When a mere youth, he acquired great fame as a portrait painter. He visited Constantinople, where he painted Achmet I. At Rome he worked for Pope Urban VIII. at St. Peter’s. Recalled to France by Louis XIII. in 1637, he was appointed chief painter to the king. His colouring is fine, and he possesses great boldness of touch; but his drawing is marked by mannerism, and he is not happy in perspective, or in his effects of light and shade. He accomplished, however, for French painting, what Corneille effected for the drama. He created and raised the national taste.
[From a marble in the Louvre.]
198. Nicolas Poussin. Painter.
[Born at Andelys, in France, 1594. Died in Rome, 1665. Aged 71.]
The greatest master of the French school of painting. His taste for art was revealed at a very early period. As a child, he drew upon his lesson books and the walls of the school-room. At eighteen, he went to Paris, where he frequented schools from which he learned but little. Genius and self-tuition did more for him. At thirty he painted the “Death of the Virgin” for a chapel at Nôtre-Dame, and so well, that the poet Marino took the painter to Rome, and recommended him to Cardinal Barberini with the energetic words, “You will see a youth who has the spirit of one possessed.”[31] The Italian syllables are yet stronger. In Rome he fell into poverty, and sold his pictures for a mere trifle. He worked against the spirit and taste of the age in both France and Italy: throwing himself, with his faithful comrade in art, the sculptor Fiamingo, entirely into the study of the ancient Greek sculpture. He was recalled to his own country by Richelieu, in 1640, and was created Court Painter. In 1643, he returned to Rome, whence no solicitations could again draw him. He lived twenty-five years in great calm and happiness, married to the sister of Caspar Poussin, without children, without a pupil, without a man-servant—esteeming quiet in the house above everything. He was devoted to his art, a great student in it, and of all science bearing upon it. His genius was altogether antique. He transported himself into an elder world, and lived there. Thus in religious subjects he seems to lean towards the Old Testament; and he revels in the wealth of Greek mythology. His classical spirit ennobled landscape both in its own forms and by the poetical significance and treatment of the figures. His art, like poetry, seemed to open to him an escape from the world about him. A style of severe simplicity, truth, high beauty, harmony.
[31] Vederete un giovane che ha la furia del diavolo.
[From the marble in the Louvre, by Blaise.]